1979

Do you feel obliged to sing like that these days?

What? You mean . . .

Y'know, like you could age the nation's glassblowers.

Oh yeah, sure. I mean I don't feel obliged - that is me. See, like
in a recording studio when it's all
dark and there's just you and a couple of guys at the desk, well you get really
involved that to actually plan it out becomes out of the question. It just
flows that way... and as a writer I just try to express an idea. I can't
possibly think of old songs of mine because they're past now and quite honestly
I don't like them anymore.

Doing ``wuthering heights'' must've been murder then.

Well I was still promoting that up until 18 months after I'd had it
released. Abroad I was still promoting it on TV where I was able to do it
backwards and (SHE MIMES IT WHILST PICKING HER NOSE NONCHALANTLY)... just
weird. (1979, John
Shearlaw)

I think I survived all the digs I had last year. I really wasn't
deliberately keeping myself away from an audience to build up a reputation. It
has simply taken all this time to stage things the way I want to. And to match
up to the standard I've set myself.

Which I haven't reached and probably won't reach! SHE LAUGHS.

But however it turns out, it's my concept. My concept as much as the
time, the budget and the presentation will allow.

To kate the shows - her live arrival - is firstly: A present. A
present that shouldn't be unwrapped until everyone is there! It's like hearing
about a film. Everybody tells you it's
amazing - and you could end up disappointed. You shouldn't get peoples
expectations up like that. She smiles; Half-childishly, half apologetically.

I know you want to know. But how can I start? If I tell you one
thing it's give everything away. It'll bugger everything up! SHE SMILES AGAIN,
PROBABLY AT THE WORD.

If you look at it it's my reputation. And, yes, I hope it'll be
something special, that's the way I'm working on it.

It can't be completely original ... it couldn't be ever. Nothing
could, because to an extent it's all been done before. Just say they're my
songs ... and hopefully presented in a way that suits each song. (1979,
John Shearlaw)

I look back sometimes and realise how much time I did have to be
receptive and open and take in so many things. To some extent I still am - and
I'm still terribly subjective.

It's not that it's really changed, but I find that there are
definite restrictions on my time and there are define things I want to control.

It'll be an objective look at me, going out on tour. It's really my
reputation and my career and everything I've been working for.

I'm not closing off, and I still need help, but it's up to me to see
that I can reach the standards I've set myself.

But just to get that audience contact, for the first time, will be
fantastic. (1979, John
Shearlaw)

We've seen a tremendous amount of you on television, of course, in
the last twelve months, but you're about to escape the television studio and
the recording studio and undertake your first major british tour, aren't you?
Are you at all apprehensive about it?

Oh, yeah. Very, very indeed. But I'm very exited as well. It's
something very new for me and it's something that I've always wanted to do, so
it's great.

What sort of performance, what sort of show, can the audience
expect to see, without giving to much away, of course.

Well, [Makes mumbling sounds with hand over mouth. Both
laugh] I can't say much except that it's just a concept of my music really.
And that we're just gonna try and present something visually.

I think that maybe a lot of people heard that it was going to be
visual, and many of them are into seeing shows that are different from the
normal ones. But it's not really for me to say why they like me. It's the
people who know that.

I'm sure there are as many people who hate my voice as ones who like
it, but whatever it is, it's encouraging for me to know that people want to see
me, whether it's to criticize, or because they really want to see the show. I
think that's a great compliment.

Sure is. But it's taken a long time for her to take her show on the
road, especially after her vinyl success with `` wuthering heights", `` wow''
and her two albums the kick inside and lionheart. So why did she wait until now
to do the tour?

Basically, it's time. When `` Wuthering Heights'' and The Kick
Inside took off at such a level there was a very strong demand for me to go out
and do promotion. I think it's a sensible thing to do, but I didn't know it
would take up a year. And besides, I spent most of that year recording the
second album.

One of the reasons I waited was to get the show right because to go
on tour in this way you do need at least three months' preparation, and I just
didn't have the time before. You know, we were all working for six days a week,
twelve hours a day - and the number of hours gradually grew towards the end.

I really need to be prepared for that sort of thing. Even for an
album, I feel I need that preparation period. I don't know if this makes me a
perfectionist. But I do have ideas that I don't always reach, so I guess that
is what I am. (1979, Pop
Star)

Her kick inside album is still high in the charts,
although lionheart, the second album, hasn't done so well. Isn't that strange?

I think it was more surprising to me that the first album did so
well, than that the second album is not doing as well as the first one. It was
really a surprise to me that a lot of people liked that album, and as far as
I'm concerned I'm quite pleased with how Lionheart did. (1979, Pop Star)

I am still
amazed that people like me so much. As they do, I am determined to give them
nothing but the best.

This is why I spent so long preparing for a European tour. I wanted
everything absolutely right.

I rehearsed for two to three months, six days a week, up to 14 hours
a day. (1979, Call Me
Sexy)

Well, on
tour we had a lady who looked after the costumes 'cause it wasn't just me who
was wearing costumes, all the band had clothes and the dancers and the
musicians and the magician had one. And she had to keep preparing them every
night and getting them dry cleaned. And my hair, I really just tried... I had
to have one perm before the tour and that tried to hold it for the rest, it
didn't do very well. Yeah. (1981, Razzmatazz)

I only actually toured once ten years ago - '79 - and we toured
England and Europe. I'd never done
anything like that before. I'm not a performer, I'm not someone who's grown up
playing around clubs or pubs and then becomes a recording artist. I'm someone
who from a young age wrote songs, and then gradually learned to sing, and then
gradually there I was in the studio and then... It's all sort of an unfolding
process for me.

We wanted to do something special, and I guess really because of my
influences from people like Lindsay Kemp we wanted to make it kind of
theatrical. And so it would incorporate lots of different things, like
dance, and we had a magician, and we had
some poetry and just all different elements thrown together and it had a kind
of a circus feel.

In terms of what we were doing then it was very experimental. I mean
apart from musicals, or opera production, it was kind of unheard of to involve
so many elements. (1989, VH-1)

Anthony van laast (kate's dancing instructor): One of our problems
is that kate is dancing better and better. I mean I'm teaching her, and she's
working... It's incredible how far she's got. I wouldn't have thought it was
possible. And the problem now is that she's getting so good at dancing that
it's going to be hard now to keep her from dancing so that she can sing
properly. I mean it would be fantastic if we could put the whole show on
recorder and then she could mine it and then dance. We can't do that. She's got
to sing it. So we've got to fit the dancing to the singing.

You mean she would be out of breath?

Anthony van laast: Oh yeah, she couldn't dance the way she could
dance possibly and sing at the same time. So somehow we've got to work it out
so that it all fits in properly. (1979, Kate Bush on Tour)

On her dance lessons: It's the
discipline that's all-important, and I can feel really bad if I have to miss
it.

It's just so important for my state of brain - I feel completely
different - and so much better - afterwards. And it's something that I feel I
can carry on developing. With dance, and movement you're learning and creating
all the time. (1979, John
Shearlaw)

It's important that the visuals are just emphasizing the music
because it's not a dance show, it's a
music show that's being illustrated with movement, and it's important that they
both complement each other. And I've only...I mean I'm not a dancer, I'm just
learning to dance, and what I can do I'll try to put across in the show. But
I'm not a dancer, I just love dancing. And I want to be able to learn as much
as I can. (1979, Kate Bush On
Tour)

"Wow'' we've got to get
together more, because it's not sounding as it should be yet. It's not tight,
they have to be tight. And especially the fact that we are going to be doing
movement to the music, the music has to be very, very together and precise. And
that's what we're trying to achieve.

I think the main reason why they listen to me is because
[Laughs] I'm paying the wages and it's my music. And I think, they have
enough respect for me, I hope, not to turn round and say ``you don't know what
you're talking about.''

How much like the record will your music finally be, in the
concert?

That is a problem, because obviously the albums have been very
carefully produced and you've got mixed levels and everything. And so live
work, to a certain extent, we couldn't do it exactly as the album is, even if
we wanted to because it wouldn't come across in a strong way. For a live
performance, you have to be aware of the fact that making things more obvious
so that people can hear them. Trying to possibly make songs quicker. (1979,
Kate Bush On Tour)

Band member: We're not just reproducing the albums. When you're a
band, you have you're own identity, and if you're just reproducing albums,
there's not much point in having a band. You know, you might as well just play
the album.

Paddy: A little apprehensive, no I think it will be good fun,
actually. Really good fun. I mean we're so well rehearsed as far as it goes,
and the music will take care of itself. (1979, kate bush on tour)

How complicated has the sound been for the tour?

Engineer: Ah, very complicated actually. [Inaudible] mainly
the miking up of kate herself, um, from the dance point of view.

How have you solved that?

Engineer: With a very small microphone! Small mike on a boom arm,
its gotta be used from the side of her head. (1979, kate bush on tour)

The most difficult ones are where I've got the headset and I'm
moving a lot. It's an amazing feeling of freedom, because, like, there's
nothing in your hands yet you can hear your voice being projected miles away -
it's incredible. But it's not quite in it's full design yet. There are just a
few things that are wrong with it. And it's not always right in front of my
mouth, but we're getting that seen to.

With only one week to go before opening, how do you think the
rehearsals have gone so far?

I think they're going very well. There's a lot of rushing, but there
always is at this time and that's when mosts get done. I think it's going well.
(1979, Kate Bush On
Tour)

I remember thinking as I attended that gig that I hoped you
wouldn't have a deep intake of breath 'cause the microphone was only about an
inch from your mouth. Did you worry about that?

Yes, I had to be very careful about, well not saying things that I
shouldn't when I was being... when I was turned on and everyone could hear me.
And I also had to breath quite quietly, otherwise there'd be this sorta really
loud [Makes deep breathing noises]. So I had to be very careful about
the moments when I wasn't singing, yeah. (1982, Pebble Mill At One)

What I needed was a microphone that I didn't have to hold, because
we wanted to do dance that involved two
other dancers so I could be lifted and we could run across the stage, and
holding a microphone was very inhibiting. So the sound guy that we had for the
tour, I said to him ``I want you to invent a microphone for me that I don't
have to carry'' So he basically invented the radio mikes that you see now, but
he made it out of a coat hanger. So he got an old coat hanger and kind of bent
it into shape here [Motions on side of head], and then had this piece
that came round here [Motions around to front of mouth], that the
microphone was then put on so it was just in front of the mouth. (1989,
VH-1)

With three weeks to go, kate bush was more like an executive than a
singer, making a series of decisions almost every hour. Every detail, every
color, every texture, she helped to decide. Even the choice of the crew food
was party influenced by her and produced by her other brother john.

John: Well we've got nothing very difficult, but there are a lot of
vegetarians involved - about sixteen. And my wife's been cooking for the last
few days, and its working out real well. Everybody likes it. Its all going very
fast.

It's almost a vegetarian tour, isn't it?

John: Yeah, you could say that. You know, well it's good food
because it lets people carry on working afterwards. They're not walking around
really laid out with an enormous, great, meat meal. (1979, kate bush on tour)

Originally your Hippodrome [Concert] date was supposed for
March the 4th and it was put back a month, why was that?

Well that was because of our rehearsal time, and in fact none of
these dates should have got out. That was due to someone who was a bit naughty
along the line. But we're coming out in April. (1979, Personal Call)

They'll never be another night quite like the first kate bush show
at the liverpool empire. Even parts of the audience were nervous, wondering if
the young lady with brittle voice and brittle nerves as well. But her manager,
hilary walker, was carefully hiding any fears she had.

Hilary: It has been hard work every day, seven days a week. But
it's really been a question of getting the right people to do the right jobs at
the right time and pulling them all together and making it work.

Are you nervous about tonight?

Hilary: Excited, I think. I think we all are. Yes we're all
nervous, of course we are. But things cost.

You play the piano track on all your recordings, right, but then on
stage?

Well, on stage, because of course I'm dancing and doing all these
other things, I used a guy called Kevin McAlea who was an incredible find.
Because I've never met anyone else who plays the piano, or who can
play it if he wants to, so like me. My style is really quite simple, and that's
the problem. Professional pianists tend to sort of flourish
everywhere, and that doesn't work in my songs because I use a simple style. I
did play two or three numbers on stage, the ones that I thought were important,
but the rest of the time I was up front. Obviously, though, because it's the
instrument that I always used to write on, it made sense for me to put down all
the piano arrangements on record. But most of the songs on the new album I
wrote on the Fairlight. I'm sure, though, that I'll still continue writing on
the piano, somehow it's such an extraordinarily versatile-sounding instrument.
(1985, Musician)

Is the hammersmith-odeon video any different from the version shown
on tv? How much other footage is not on these versions, and why were the other
bits excluded?

The version shown on TV is the Hammersmith-Odeon video,
unless it's been edited to fit time slots. There are about another
one-and-a-half hours that were shot that night. The video version was edited
from the complete show, which ran for about two-and-a-half hours, and we had to
make it a standard length to fit TV slots.

When you decide to tour again, will it be video-ed? Do you think
the hammersmith-odeon video gives a true vision of the stage show for those who
weren't there?

I dare say it would be video-ed if we did tour. I don't think the
video was a true vision at all. You had to be there to see it all. In fact,
most of it was missing. You couldn't even smell the heather in ``Wuthering
Heights!'' But for a video to do that, smellivision is yet to be invented.

Who entertained the audience while you changed costumes on your
1979 tour? I heard that it was a magician. Is this true? It is impossible to
tell from the video.

There was a fantastic magician in show - Simon Drake. He made things
float, glide and fly, not to mention disappear. However, most costume changes
were done very quickly over extended fade-outs and extended intros. into the
songs. (1984, KBC 17)

Did you use the first of eric satie's trois
gymnopedies to lead into `` symphony in blue'' in your concerts, and if
so, why?

It's really marvelous that people have recognised this, and it is
so. At the time, some of us were really into the piece, and Paddy and the band
were working on a version of it. We all really liked it, and as it seemed a
good way of leading into the song, I decided to use it. I'm glad you liked it.
Funnily enough, at the same time the band were working on it, several other
versions were coming out, so it seems a lot of people were discovering him at
the same time. (1979, KBC 2)

As the lyrics to `` violin'' are different on never for ever from
the tour version, could you please tell us the bits of the tour version that
are different?

The lyrics on `` Violin'' at the beginning of the Tour were slightly
different from those at the end. The odd word would move here and there, and to
be honest, I don't remember them; except I know they weren't that great! (1984,
KBC 16) [Scene in dressing room after the first show, popping a bottle]

Oooh no, I don't think so, not just yet anyway. There'll be more
songs obviously, but what matters more at the moment is being able to perform
the songs I've written to the best of my ability, to give the public my
everything, which is what they deserve. (1979, Liverpool Echo)

I must start by thanking you all for the masses of wonderful
letters, and for all the slips that were left on the theatre seats that you
took the time and trouble to send in. And the drawings, paintings, and poems
have been great, too.

The tour was an incredible experience, and I'll never forget it, nor
the reception we got from the audiences. In a way, the first night at Poole
[This was the preview show held in poole, near liverpool, where the official
premiere was given the next evening] was the most important, as it was the
first real test as to whether it was going to happen or not, and the reaction
really surprised me - it was lovely, and the greatest encouragement I could
have possibly had. In fact, they all surprised me. I never expected such
warmth. Some audiences wanted to be convinced, but that's only fair. In Europe
people were a bit more reserved to start with in some places, especially where
I wasn't well known, like France, but it was lovely - too good, really.

I really hope people understand why I didn't talk to the audience
during the show. It would have been out of place. On stage I'm not me, I'm
trying to create a mood and character, and to speak is, I think, unnecessary. I
was speaking in so many other ways that words were not really worth their
money. I'd rather something complete and tight, than a few words that couldn't
be heard clearly anyway because of the sound system. I was really thrilled that
so many people have commented on the dancing, and I loved the things that were
thrown on stage, especially the green frog that landed at my feet at such a
perfect moment in ``Peter Pan,'' and a UFO t-shirt that I've been
wearing a lot. It was a lovely surprise when people clapped when they
recognised a song, especially the album tracks. Normally it's an honour to have
the singles clapped, and it's great that people recognise the songs and know
the music so well. All the audiences were very respectful, and that's the most
one can expect. In the solo numbers I wondered if they were still there, they
were so quiet.

A lot of people have wondered why they couldn't use their cameras at
the shows. I can understand why people want their own shots, but when the flash
bulbs go off it's seen all over the auditorium and destroys the lighting
effects on stage, spoiling it for everyone else. It's a bit selfish, like
someone getting up to go out in the middle of a number, or shouting out.

I'd like to be able to answer all your queries about live recordings
and the video film, but at the moment not
enough is known for me to say anything. But I'll let you know when something
definite happens.

What I really hated were the ticket touts. I wish something could be
done to get rid of them, and I'm sure it could, as you don't see them on the
Continent. It's really sickening to hear of them selling forged tickets at
obscene prices. Everyone was really upset by their disgusting presence
everywhere we went.

But that was the only negative thing about the tour. I was so sad
when it was over, it was such a great time I never wanted it to end. Although
it was right that it ended when it did, because we'd all paced our energies to
that timing. I couldn't imagine a greater group of people to work with, and I
think we all felt that it had been really worthwhile.

Now I want to write some new songs and get together with my piano
again - I feel I've neglected it for too long. I also want to learn how to cook
pizzas, something I can't do at the moment, and want to be able to do.

I'll end by saying thank you to all the people who came to the
concerts and made it such a wonderful experience, and to all those of you who
couldn't come - I wish you had. (1979, KBC 2)

And nice
of you to spare some time to talk to us. I know you're in the middle of your
first tour, which must be quite hectic for you.

It's going really well, thanks. Yeah, it's really good.

You have actually received very good reviews, well most of the ones
I've read have been very good. Were you worried about what the critics were
going to say about you?

Yeah, I'm always worried what they're going to say. But personally I
always feel the most important thing is your audience. Because, whoever the
critics are, it is only a personal point of view. And although it's very
important, especially to the public, I can't help but feel that the immediate
reaction you get there is what matters the most.

And how have you found the reaction so far from the audience?

Incredible..

Yeah?

... I couldn't believe it. They're so beautiful.

Yeah.

Really.

Now, of course, it is a rather elaborate show that you're doing,
isn't it? The sort of set changes, like how you're doing a bit of magic, all
sorts of things going on. How long did it take to get the whole thing together?

Oh, a few months. We've been working since the beginning of this
year, and it's coming along well.

I mean, were many people involved in sort of the whole concept, or
was it basically all your idea?

Well, the major concept is basically mine, but I've had a lot of
help from people and we've all worked together, really, on a lot of levels. And
I think that's the best thing about it, you know, that everyone's really
enjoying working with each other.

Now that it has worked so well, I gather that you were a little bit
worried before hand that it would be okay, now that it proved to be so
successful, do you think you might do a more extensive tour later in the year?

That really depends. So much depends on energies, you know, because
it can become very tiring with the traveling. I don't know, we have to wait and
see. (1978, TisWas)

I got so incredibly nervous before I'd go on. All I'd ever really
done in the way of live performance before the tour were things like TV shows,
and videos. I'd never done a big tour... and the sort of props and ideas for
the show we were carrying around with us seemed a bit ambitious, a bit awesome,
at first, but I loved those shows. Once I was onstage I had so much fun. I'd
like to do more of it. (1981, Kerrang!)

Kate, was the tour a financial success, or was it just for
publicity, to promote you?

What, the tour?

Yes.

It certainly wasn't for financial success, because touring is, well
certainly the way we did it to, was much more a loss thing then making money.
Because the amount of money it cost to actually get the thing together, to get
it organized - all the people involved - it just cost a tremendous amount of
money. And there's no way that you'd probably even make even, you would lose.

How many people are involved in the tour, altogether?

Well, altogether actually on the tour, there were about forty
people, which is alot. But besides that, there's like John working on the
co-ordination and Hill and our solicitors and publicity people. It's just an
enormous thing. (1980, Kate Bush In
Concert)

Don't you have a problem now? What next? How you're going to follow
the success?

Well you see people say this to me and I don't really look at it
that way, because it's not a matter of following success. It's things have
happened, you've done them in the past. And you see things wrong in them, and
you want to go on, and you want to do them right. And I think that's all it is,
you know? It's just the desire to want to keep doing things better. And I don't
really see it as following a great success, cause if I did I'd get really
paranoid and I probably wouldn't be able to do a thing. I'd be so worried about
doing something better than that. Whereas you're just in the present moment and
you're doing what you're doing.

Are you likely to change your style completely, suddenly?

I don't know. I'd quite like to in a way, because I think change is
a very important thing on any level. And I do want to change, not only as a
person, but as a musician. And I think its starting to happen a little. Just
slightly different. (1979, Kate
Bush On Tour)

You're now just over twenty one, and you've made it. What is there
left to do now?

Everything!!! Yeah, I haven't really begun, yet. I've begun on one
level, but then that's all gone now so you begin again. I think... IS THERE
EVER A CHANCE THAT YOU MIGHT GIVE UP, GET MARRIED, SETTLE DOWN, BE AN ORDINARY
MOTHER, SAY?

Obviously there is a chance, because I'm a human, and humans are
very unpredictable. But, ah, I don't know. I don't see that happening to me,
not for a while. I've got so much do to and I think freedom is important to be
able to do all those things.

What will kate bush be like at thirty-one, any idea?

I don't know, probably a few more lines. [Laughs] I hope
they're happy ones.

And a few more songs.

Yeah, I hope so. That's what I want to do, that's what I'm here for.
(1979, Kate Bush On
Tour)

By the end of that tour, I felt a terrific need to retreat as a
person, because I felt that my sexuality, which in a way I hadn't really had a
chance to explore myself, was being given to the world in a way which I found
impersonal. When I started in this business, I felt very at home in my body. I
was a dancer, that was the areas I explored. And it was very scary for me those
next few years, because whatever I wore, whatever I did, people were putting
this incredible emphasis of sexuality on me, which I didn't feel.

I think I was a victim of the fact that I was a young woman who was
writing music and the emphasis went on the fact that I was a young woman. There
were a lot of things that didn't fit like I was very young, I was female,
people thought I was attractive, and I had a very idealistic and positive
attitude at a time when negativity and anarchy were hip. So I was coming in
from completely the wrong tangent.

If I'd seen a lot of things I could have trodden a lot more
carefully in those early days. But I was very young, and I didn't see them. I
trusted people. But all that aside, and I did have a hard time, I think what
I've managed to achieve is worth all that shit I went through. (1989, The Guardian)

And in many ways it might be better for her to lie low for a bit
before coming back. Does she agree?

Yes. I think humans are like cars - when the petrol runs out, that's
it. What worries me is running out of fuel, because when you're working all the
time there is very little chance to do things like going to the theatre,
reading books, or whatever things inspire you.

So it's very important for me to have breaks and be natural and
normal and re-fuel, because without that fuel inside you can't give anything
out. Very often I see people whose work has totally taken them over, so they
can see nothing else in the world. That frightens me. I am a bit obsessed with
my work - but I'm also concerned about being a human being.

I always try and gauge my reactions from people I've known for
years, and if I see that changing, it's up to me to check where I'm at, because
being a human being is the most important thing.

If people don't want to hear my music any more, I as a personality
or celebrity would no longer exist, but I will always be human. The lifestyle
may be different now than it was two years ago, but I think I'm still the
same... although not as serious, perhaps! (1979, Pop Star)

There are probably a lot of pressures that I'm not even aware of,
that other people feel probably more strongly than myself. You do feel general
pressures sometimes, but I'm having a real good time at the moment, and I'm
doing what I want to do, and things are running more or less as I wish them to.

It's such a fulfilling time of my life at the moment. The thing
about money - being wealthy - I'm not
really aware of, because I see money as something that should be used and not
thought about much, because it causes an awful lot of hang-ups in people. It's
terrible that money is such a material thing.

As for the future, kate simply has this to say:

I think everyone has to change, because tastes and times change.
Even Cliff Richard, who's been going for years, changed at times. I'd like to
change, but it's also important to keep the continuity. There is no point in
changing just for the sake of changing. I never know if I'm going to change
until I actually do something. So I just have to wait and see. (1979, Pop Star)

I think the
tour did quite a lot from the start. I learned an incredible lot about myself
as well as the whole thing of performing. Singing songs that maybe I had
written five years ago, over and over again, I find completely exhausting. I
think it did change me quite a lot and I think in a way that was one of the
brave things I did along with the tour. I decided to go through co-production
with the engineer I had worked with before instead of having produced it, it
was quite a big thing for me to learn and I think it was quite positive. (1983,
Wireless)

In a film magazine it said that
you turned down the offer of singing the title song to the james bond film
moonraker. is this so, and if so, why?

Yes, this is true. I thought it was a very lovely song, but I just
didn't think it was for me. I think Shirley Bassey did it a lot better than I
would have, anyway. (1980, KBC
5)

Why, oh why didn't you turn up at the cricket match at paddington
on september 16th, as advertised, when so many of us came just to see you?

I'm really upset about this. I really wanted to go. It would have
been such fun. But it shouldn't have been advertised, and it was very naughty
of whoever did it, because it was never confirmed. Again, you mustn't believe
all you hear through the media. That was the day I was making the video for ``
Them Heavy People,'' from the On Stage EP, for Top of the
Pops. I'm really sorry for those who had a wasted journey. (1979,
KBC 3)

Was the concert with the london symphony orchestra televised?
[Kate sang `` blow away'' during a concert celebrating the 75th anniversary
of the lso.]

In your tv special, who wrote the song sung by you and peter
gabriel, and will it ever appear on vinyl? Also, what were the names of the new
songs you did on that show?

In the TV special the song that I sang with Peter Gabriel, ``Another
Day,'' was written by Roy Harper - a very beautiful song from his album
Flat Baroque and Berserk, which you can buy from your record shops
along with his most recent one, which is brilliant. It's a really good song,
and it will be on vinyl one day, hopefully soon, but not with this album.
[Kate has still not released this recording.] The names of the new songs
that were done on the show were `` The Wedding List", ``The Ran
Tan", ``Egypt'' and ``Violin.'' (1980, KBC 5)

It is a much like my tour as possible - song liked into song with
lots of movement.

There is no chat. I can't bear it when you see singers standing up
and introducing their guest in that false way. (1979, Wow! What Smuthering Tights)

On the tv special, what were the trousers that you wore for
``foot on the heartbrake'' made of, as they appeared to be
stretchy?

Those trousers were made by a guy who deals in stretch fabrics, so
they are stretchy, and it's very good material. (1980, KBC 5)

I have become a terrible hermit really. I'm writing the songs for my
new album and spend most of my time in my flat.

I'm thrilled to have some new songs to sing. I can't listen to my
old albums.

It's not that I don't like the songs, but I feel they are so much a
part of the past. So much has happened to me since then.

Last year I felt I was building bricks. This year I have had room to
breathe and try different things. I have done some session singing which I
loved. It is lovely to work on someone else's songs for a change.

It's very inspirational but at the same time you realise how
inadequate you are.